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Ivana Shein
Ms. Shein’s series pilot adaptation of her play, "Single," produced by IAMA Theatre company and directed by Amir Arison retitled for television as "A Leonard Cohen Afterworld," caused filmmaker Cameron Crowe to say after reading it, "Thank you, Ivana, for knowing instinctively, that all the best music comes from Canada”. Mitchell Cushman directed a workshop production of her play "The Lovers" based on the eternal kiss in a Chagall painting produced by The Company Theatre. Cushman and Shein are reteaming on her solo play "Borderline." Her latest play, "Canadian Book of The Dead," is slated for 2024 development at Shotgun Theatre in San Francisco, Becca Wolff to direct. She performs stand up comedy in both the U.S and Canada and has played a multi-season recurring role (in two timelines) as the mother of the lead character, Maya Bishop on Shonda Rhimes's ABC series, "Station 19." Her podcast "Skinny Dipping" with one of the producers at Sugar 23 just recorded its pilot episode with special guest Maria Bamford. She attended the National Theatre School of Canada for playwriting, making her a second-generation Canadian playwright.
LEARN MOREREVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor
When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?
REVIEW: 13 Plays About ADHD All At The Same Time is true to its title
While the play’s structure may occasionally leave you feeling as scattered as its protagonists, its heart, humour, and raw honesty will keep your thoughts churning well into the night.
Speaking in Draft: Byron Laviolette
“Right now, the creation-to-production process for a lot of people is from the Toronto Fringe to — hopefully — some theatre recommender grants, to a workshop production, to maybe an actual production,” says What The Festival co-founder Byron Laviolette. “But the realities of mounting a show at the Fringe don’t translate to a two-week run at the Extraspace at Tarragon. Peoples’ appetites are different. Yet we don’t train or support people to translate their shows into those different contexts."
REVIEW: Goblin:Macbeth might just leave you gobsmacked
While most of the entertainment comes from the goblins’ antics whenever the Shakespearean text is paused or subverted for comic effect, the secret sauce to this whole endeavour is that it really is an honest-to-goodness staging of that text, designed to showcase the performers’ near-virtuosic mastery of the material.
REVIEW: The Thanksgiving Play wriggles in performative wokeness
In 2024, is there a way to produce an engaging, culturally sensitive play about the first American Thanksgiving for elementary schoolers? The Thanksgiving Play, penned by Native American playwright Larissa FastHorse and now playing at Mirvish’s CAA Theatre, poses that question in its first five minutes, then throws the query out with the cranberry sauce in its madcap exploration of a devised theatre piece at an unnamed primary school.
‘What the hell do I do with all these puppets?’: Inside the wonderful world of Ronnie Burkett
“More than a few people said to me, ‘so this is your last show’,” says the legendary puppeteer ahead of his production of Wonderful Joe at TO Live. “Trust me, I never said this is my last show. I think that’s maybe a bit of ageism, or wishful thinking.”
A sign outside Urjo Kareda's office read, "no whining." A framed letter inside said "Fuck you, Mr. Kareda."
Year One: Apple Pan, because it’s literally what the Peach Pit in 90210 is based on, and pie is good when you’re being rejected that much.
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